what’s the story behind these three little words? it’s a game. by rearranging the letters you can create diffenert words with various meanings. a nice metahpor for the new year. taking risk and win or or holding on and OWN? later or NOW? it’s up to us how the next year is going to be shaped. will it be WONderful in NOWhereland and perhaps we’ll crOWN our beloved? who kNOWs-all bets are off.
we wish you a delightful 2017 whithout any schowdOWN.
eat more potatoes! the website for sfp architects, designed by us, is prepared: www.sfp-architekten.de
doing things differently: here, there’s no menu bar but a potato-like shape, bulging this way and that. across the page – apparently scattered at random – are drawings by the company owner, telling little architectural stories. elegantly they entice the visitor to linger longer, guiding them through the company’s 60-year track record that opens up at the swipe of a mouse.
as a designer you sometimes have to turn things around or consider them from a different angle. old established viewpoints often need turning on their heads if you’re going to create something new, attractive and surprising. the new word mark for the architects gives visual shape to this idea through a simple twist.
“am i too loud?”
yayy! grin! happy!
after much of groan! and sweat! we are happy about winnig the competition for the corporate design and key visual »100 jahre ifa«.
am i beautyful?
»the way i am?« could be a question – and the answer could be »beautiful«. but who would claim that of themselves? and isn’t »wanting to be beautiful« an absurd wish anyway? or are we beautiful but don’t know it? how to define beauty? is beauty about having big breasts?
photographer tamara hansen and communications designer andreas uebele set out to find the answer. the outcome is surprising – or (sad to say) perhaps not. only once did they hear the reply: »nothing, i’m happy the way i am«. so »the way i am« needn’t be a question; it can also be a message, when we define for ourselves what it is to be beautiful.
randomly selected works
words and spaces
the blank front page shows nothing. or, rather, is nothing: is emptiness, a white surface, like a space or room that’s defined by typography. opening this large-format brochure reveals more spaces – in which the artist has made her mark. we see the many different ways a space can be occupied: by objects, by walking through it, by modification or conversion. the layout supports these interventions in the way the texts are arranged: the text blocks flow around the illustrations, their location – to the right or left, above or below – signposting the different kinds of information they provide. in this way the authors’ texts, captions, titles and notes come together with the artist’s work to form a whole.
beauty and engineering
the additive manufacturing process enables a fast and simple production of three-dimensional letters. Certainly you can produce anything this way, but the designer is always attracted by beauty. So it fits very well that the international design-competition promotes both, beauty and engineering.
how exactly does it happen? a portrait
a scholarship – especially a villa massimo scholarship – is a lucky break for anyone engaged in creative endeavour. but what does good fortune of this kind mean for a creative? how do they cope with being so fortunate? is italy – historically such a magnet for creative minds – a good place to work, to create something? and how do these works, these things, actually take shape? these and other questions were put to the 2015 scholarship holders and their director by two other scholarship holders – an artist and a graphic designer. the interview transcripts were arranged to create a silent soundscape of the german academy in rome. fragmentary phrases speak out from the walls in understated typography. a muted portrait of villa massimo and its many different voices.
on the 10th of december andreas uebele is giving a lecture in hanoi, thanks to the goethe institue in vietnam. design students will also have the chance to participate in a two-day workshop there.
the latest issue of atlas magazine is about orientation. andreas uebele clarifies the relation between typeface and identity in a generously illustrated article. thanks to groothuis and editor miriam holzapfel.
project »schmuque« now on milieu grotesque website
artist talk at villa merkel
bild – schrift – zeichen
friday, october 14th, 6 pm
artist talk with barbara wojirsch and andreas uebele
exhibition at villa merkel
bild – schrift – zeichen
art and graphicdesign on the edge of free and applied design.
from september 9th to october 23th,
opening on friday, september 9th, 19pm.
awful to see that you are already an old hand. but even worse is reading your own silly sayings.
a consolation is the pleasant designed magazine by felicitas berger.
interviews with old hands and youngsters based in stuttgart.
mastermagazine, brudahl guad!
andreas uebele in beirut
in november andreas uebele holds a lecture (keynote speaker) at the city street2 conference “street-forming/ re-forming: transforming the 21st century city streets” at notre dame university, louaize (ndu), lebanon.
andreas uebele in urbino
workshop with andreas uebele at isia, istituto superiore per le industrie artistiche in urbino, italy from 16th to 20th may.
„anschlag berlin – zeitgeistmedium plakat“ in berlin.
the exhibition brings together an overview of ambitious, contemporary posters. following the current zeitgeist in design, 100 posters by newcomers and renowned design studios such as cyan, hesign, eike könig, studio laucke siebein, lsd, m23, ariane spanier, patrick thomas and many more will be on display. we are happy to be a part of the exhibition.
der spiegel wirft das bild zurück und stößt den betracher vor den kopf. er zwingt ihn, das zu betrachten, was er kennt. der blick geht nicht weiter, man sieht bekanntes. wenn man den standpunkt ändert, wird das bild, das entsteht, ein anderes. das körperliche löst sich auf, wird verrätselt. ein trick, eine optische täuschung, die im raum eine schöne wirkung erzeugt. jetzt sieht man das, was nicht in der blickachse liegt. ein spiegelndes schild ist wie ein parfüm. es überlagert die wahrnehmung und bereichert sie mit einem anderen visuellen eindruck.
a woman and a man. standing calm and still, wearing a knee-length dress and shorts. no specific fashion is discernible. these two figures have fallen out of time. yet they aren’t hermaphrodites – who’ve always missed out when the sexual categories are defined: we can see from the two figures that the man is probably a boy, the woman probably a girl. it’s not just that they’re almost exactly the same height: the female figure’s undeveloped chest, the shorts – which tend to be the preserve of the young – are sympathetic references to the un-sexual. a shared naïveté – or perhaps rather a shared innocence – overlays the stark division of the sexes. the form fulfils its function and reminds us of childhood. the figures aid wayfinding and tell us a tale of rediscovering a lost age.
someone who is looking for the toilet comes to a door. he sees what we might call a humanoid figure. he sees a person. the body descends vertically from broad shoulders, the legs stand parallel with a small gap between them. aha, the viewer says to himself, this is the place for men. yet if the figure has a waist and wears a skirt-like garment it is equally clear – at least in the western world – that we have reached the ladies’ toilet. the fact that this information is understood globally is a tremendous cultural achievement – its importance cannot be overestimated. it is the translation of instructions, place descriptions or complex emotional states into an internationally comprehensible language – basically the invention of an autonomous picture-based language that functions across all national boundaries. together, scientist otto neurath and graphic designer gerd arntz laid the foundations for the international visualisation system we use today, which helps us communicate various important matters quickly and straightforwardly without using writing and words. smileys, emojis and emoticons are another wonderful example of this. here you can see the beauty of gerd arntz’s original drawings: woman, man. smile.
plädoyer für die maßlosigkeit:
mehr ist mehr!
pracht, fülle und ausschweifung!
many designs are for the wastepaper basket. what a pity. but they are a good fertilizer for something new.
cotton candy typeface
oh how beautiful is the fun fair! loud and annoying, confusingly complex and everyone loves cotton candy and roasted almonds. i rather like the typography: awkward, weird and powerful. bubi slush ist ok. would be a funny name for a typeface: bubi slush bold ...
geschlechtsabhängige individualiserung von digitalen geräten.
unsystematische feldforschung an der fachhochschule
düsseldorf, fachbereich design.
bazon brock spricht. wie man wird, der man nicht ist. drei stunden hören. korrektur des autors: nichts klebt. alles fließt. danke.
die gendergerechte ausstattung des büros ist selbstverständlich. alle haben den gleichen stuhl, tisch und arbeitsleuchte. wir benutzen die gleiche toilette und den gleichen drucker. bisher war nur das verhältnis frauen zu männer ungleich. auf wunsch der – mehrheitlich weiblichen – beschäftigten wurde dieses verhältnis nun zu gunsten der männlichen verschoben. seit montag sind zwei neue kollegen im büro, deren anwesenheit eine mitarbeiterin mit glänzenden augen dergestalt kommentierte, dass es nun im büro nach »mann« röche.